In the Moment:
Michael Frye's Landscape Photography Blog
by Michael Frye | Apr 4, 2013 | Light and Weather, Yosemite Photo Conditions
Poppies, lupine, and oaks, late yesterday afternoon
I made the photograph above yesterday, and I’m sure many of you will notice the similarity between this image and one I posted two weeks ago. These are the very same trees, and again I’ve used the radiating pattern of the shadows. When I went back to this spot yesterday there were more poppies mixed with the lupine, and the trees had new leaves. So I worked on the same idea, but with different conditions.
I’m not afraid to repeat myself if I think I might be able to improve on a previous photograph. Sometimes I just don’t execute the photograph perfectly on the first try. Other times the conditions are better the second or third time around. What are the odds that you’ll visit a place for the first time and find perfect conditions? Pretty slim, I’d say. And the more times you visit a location, the more you’ll see, and the better you’ll understand how the light changes and affects the area at different times of day.
Is this new version of the oaks, flowers, and shadows, better than the previous one? That’s hard to say. I’ll have to let them sit for awhile until I can look at them with fresh eyes. But I wouldn’t have that choice unless I tried again.
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by Michael Frye | Mar 14, 2013 | Light and Weather, Vision and Creativity
Sunlight slanting across Crane Flat Meadow, Yosemite NP, CA, USA
A Trip to Crane Flat
Yosemite got some much-needed precipitation last week – over an inch total. I kept checking the radar and satellite images online, looking for an opportunity to photograph a clearing storm. Friday morning seemed promising, so I drove up to Yosemite Valley early, but found no snow. It looked like the snow level had been around 5,000 feet, higher than forecast. Worse, from a photographic perspective, the skies were clear and there was no mist.
Shortly after sunrise I noticed light striking a ridge near the tunnels on Highway 120, and on a whim decided to drive up to Crane Flat. I thought Crane Flat would at least have some fresh snow, since it’s at 6,000 feet.
Indeed there was fresh snow – over a foot of it. I parked at the Tuolumne Grove trailhead and walked along the plowed road. The sun had just reached parts of the main meadow, and I found some interesting small subjects to photograph, like tree-shadows on the snow.
Some shafts of sunlight slanting across the snow caught my attention, and then some mist began rising near the edge of the meadow, behind the shafts of light. I immediately recognized the potential to make an image that went beyond an abstract study of shadows – a photograph that had a mood.
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by Michael Frye | Mar 5, 2013 | Yosemite Photo Conditions
Winter sunrise from Tunnel View. With the right conditions Tunnel View can be great in the morning as well as the afternoon
January and February are the wettest months of the year in Yosemite. The average precipitation for January is 6.5 inches, while for February it’s 6.7 inches, which makes 13.2 inches for the two months combined.
But this year Yosemite received only a tenth of that: 1.33 inches total for January and February. The Sacramento Bee says it’s the driest January and February on record for the northern Sierra Nevada.
Since storms have been so rare lately, any forecast that calls for precipitation is big news, and we’ve got just such a forecast this week. Meteorologists are predicting a medium-sized storm to reach Yosemite tonight and tomorrow, with lingering showers on Thursday and Friday. The timing is hard to predict from the current forecast, but it’s likely that we’ll see clearing storm conditions either late Wednesday, Thursday or Friday. With the showery weather there may be several clearing-storm events during that time.
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by Michael Frye | Jan 23, 2013 | Composition, Vision and Creativity
El Capitan and the Merced River, autumn, Yosemite NP, CA, USA
Depth can be a powerful tool in photography. Our medium is two-dimensional, but a sense of depth, an illusion of space and distance, can make the viewer feel like part of the scene, and literally and figuratively add another dimension to a photograph.
A Common Formula
This image of El Capitan follows a common formula for creating a three-dimensional effect in landscape photographs: find an interesting foreground (preferably with some leading lines), get the camera low and close to that foreground, and use a wide-angle lens.
A wide-angle lens by itself can’t create a sense of depth. Wide-angle lenses make things look smaller, and therefore more distant, but if everything looks small and distant there’s no sense of depth. The 3-D effect only happens when you put the wide-angle lens close to something in the foreground. That proximity makes the foreground look big, but things in the background still look small. The optics create an exaggerated size difference between near and far objects, and our brains interpret that as depth and distance.
This wide-angle, near-far look is common today, but it wasn’t always so. Though he wasn’t the first to use this perspective, master landscape photographer David Muench popularized this technique through his many beautiful books, and a lot of people have followed his lead.
But this look has become so popular that I think landscape photographers have stopped looking for other ways to create a sense of depth, and by doing that we’ve limited our options. We owe it to ourselves and our viewers to explore other paths, and create images with depth and meaning that go beyond this one formula.
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by Michael Frye | Jan 5, 2013 | Announcements
The polls are closed, the votes are in, and here are my top ten photographs of 2012!
I thought last year’s response was amazing, but this year it was even better: 240 people looked through my initial selection of 50 images and posted their picks here on the blog, Facebook, Google+, and by email. A big thank you to all of you who took the time to look through these photographs and voice your opinions — I really appreciate your help with this! And thanks also to my wonderful assistant Claudia who tallied the votes.
To express our gratitude to all of you we’ve decided to give away another print to one of the voters. We assigned each person who voted a number, and used a random number generator to pick the recipient. And the winner is… Frank Field! Frank will receive a signed, numbered, matted 16×20 print of his choice from among the 50 original selections. Congratulations Frank!
So here’s the list of the ten images which received the most picks, and the number of votes they each received:
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